Switzerland

American writer Patricia Highsmith was a master of psychological thrillers, the most well-known of which were driven by the character Thomas Ripley.

In this new play Joanna Murray-Smith boldly creates a world worthy of flowing from Highsmith’s own typewriter in which a wonderfully original and darkly playful take on the concept of biography can occur.

Set at the location of Highsmith’s self-imposed exile, the Swiss Alps, the exposed brick beams and low-burning fire of Michael Scott-Mitchell’s set do a wonderful job of suggesting the snowy surrounds of this almost bunker-like fortress of solitude.

The standoffish and bluntly opinionated Highsmith is given shape and history through the tyrannical soliloquies in which she bemoans writers, America, readers, numerous races and religions and humanity. Sarah Pierse takes a little time to settle into this cagey rage but once there is captivating.

Eamon Farren, as Edward, is almost always an intrusion on this isolation, perfectly and politely unsettling. Farren is too everything to be true, and as the weapons that so captivated Highsmith are revealed so too, slowly, does the truth of Farren’s character.

Director Sarah Goodes ensures the tension remains sophisticatedly taut so revelation and conclusion are bound together and we’re prompted to retrace ours steps like the best detectives.

Drama Theatre, Sydney Opera House to 20 Dec.